GRAMOPHONES

Sun (Auckland), Volume I, Issue 250, 12 January 1928, Page 14

GRAMOPHONES

Though the British public were disappointed not to hear Jeritza at Covent Garden owing to indisposition, the great soprano is available on the gramophone; the new twelve-inch red label celebrity record, D.B. 1041, includes a faultless rendering of two lovely operatic airs, “111 est doux, il est bon,” from Massenet’s “Herodiade,” and on the other side “Adieu, Forets,” from Tschaikowsky’s less known “Jeanne d’Arc.” The reproductions evidence not only Jeritza’s rich range of voice and artistic technique, but also her strong dramatic personality. The orchestral accompaniment to the Tschaikowsky record is especially good. m * m Vivien Lambelet and Dorothy Lebish in “The Old Sweet Song” (Kreisler) and “Lovely Night, O Night of Love” (“Barcarolle,” “Tales of Hoffmann) (H.M.V., 82471), contribute two very fine numbers. There are some melodies which are so lovely that their beauty seems to catch at our hearts. Kreisler’s “Caprice Viennois” is one of these, and in its arrangement for tw'o voices its wistfulness is even accentuated. A very fitting and charming piece for the reverse of this very beautiful record has been found in “The Barcarolle,” from, the “Tales of Hoffmann.”

Herbert Dawson’s organ records are particularly good. In D’Evry’s “Meditation” there is an occasional slightly ominous note from the pedals as if the meditation was not entirely happy, but the reproduction is very well coloured in both this and the Toccata of Dubois. The latter is particularly clean and crisp. ♦ * * An outstanding vocal item on the latest list is the love duet of Nedda and Silvio from “II Pagliacci,” magnificently rendered by Granforte and Spani. Both these great artists deal so capably with their parts that the listener is able not only to hear their singing, but also to realise their histrionic powers. In spite of pleasing musical restraint and delicacy, the dramatic situation is brilliantly suggested. A Mark Hambourg Disc. “The Handkerchief Dance” (P. Grainger) and “Intermezzo No. 2 in G” (WolfFerrari) (H.M.V., 82478), are decidedly interesting. Percy Grainger’s “Handkerchief Dance” has as much tunefulness and jolly cheerfulness as his famous “Shepherd’s Hey.” Mark Hambourg obviously enjoys himself in playing it, for his performance has genuine joie-de-vivre. The “Intermezzo” is a tuneful little piece in waltz time. * * ♦ The Savoy Orpheans, in selections from “The Desert Song” (H.M.V., C 1328), provide a very tuneful selection. This is a fine bird’s-eye view', so to speak, of one of the most popular musical plays of the London stage of last season. In the selection presented, the Orpheans give us the gems of the music, which include: “Song of the Brass Key,” “The Desert Song,” “One Alone,” “One Flower Grows Alone in Your Garden,” “The Riff Song,” “Waltz,” and “Foreign Legion March.” * * * “Der Freischutz” overture (C. M. von Weber), recorded by the Berlin State Opera Orchestra, under Dr. Leo Blech (H.M.V., D 1249), makes a splendid record. The overture to Weber’s “Der Freischutz” is nowadays (alas!) almost all that we hear of one of the greatest operatic masterpieces. Like most overtures of the time, it is constructed from the principal melodies of the opera; thus, we get in turn a fragment of the weird music accompanying the “Wolf’s Glen” scene and the “Huntsmen’s Chorus.” Considerable use is also made of the music of the wonderful scena of Agatha (known as “Agatha’s Prayer”), and the magnificent tune of the finale is taken from it. With such ingredients it is small wonder that the overture remains one of th€> most popular items on any concert programme. The performance reproduced in this record is exceptionally fine.

The Revellers’ recent visit to London gave special interest to their record, “The Birth of the Blues”— generally regarded as the “hit of the season.” This fine vocal quintet has a genius for this of work, and their rendering is brilliant. Among the dance records are two of exceptional interest. One is a Paul Whiteman record of “The Birth of the Blues,” and the other is a Jack Hylton record —introducing an organ—of “Shalimar” and “I’m Looking for a Four-leaf Clover.” There are many more in an admirable list. The interest taken in the celebration of the 1,300 th anniversary of York Minster recently has not been confined to York, Yorkshire, or even the surrounding counties. By means of the gramophone record, those exiled Yorkshiremen in tropical countries can buy “His Master’s Voice” records and imagine themselves in the cool, grey shades of the great cathedral. The records, made by the Minster Choir under th© direction of Dr. E. C. Bairstow, are worthy of notice for two .reasons. The first is the selection of the music, which, Dr. Bairstow says, was done by the recording company themselves, and they seem to have hit upon the finest examples. Particularly good are the two Byrd motets, “Christ© qui lux es et dies” and “This Day Christ was Born.” The other two have not quite the dignity of the Byrd, but Gibbons (a contemporary of Byrd), in “O Lord, Increase Our Faith,” “O Clap Your Hands,” and “God is Gone Up,” gives the choristers plenty of opportunities for vigorous singing. The second point is the perfect balance of the parts, obtained, I should imagine, by careful manipulation of the microphones and arranging of the choir. The four voices are heard in equal proportions, and the echo, very slight, is sufficient to give the impression of great size and majesty.

From time to time, says an English critic, I have reviewed some excellent recordings of th© classics by German musical organisations. It is with pleasant recollections I deal this week with a “Tannhauser” selection done by the Berlin State Opera Orchestra for H.M.V. It easily deserves pride of place in the July issue of the Gramophone Company. The selection consists of the “Overture,” which covers thre© sides, and “The Pilgrims' Chorus” (in German), with orchestra. The conductor is Dr. Leo Blech. We have had many recordings of Wagner’s masterpiece. This one, marshalled by Blech, is different in ways that will be obvious to all familiar with the readings of other baton-wfielders. The methods of Blech are most strongly in evidence on the third side of the records. Here he dictates a pace and reading that sound at first confusing, but a second hearing will perhaps convey a different impression. Certainly, the conflict of Good and Evil is graphically interpreted. In a recent Zonophone list will be found a record wfith two inspiring marches by the Legion Band —the best of its kind in America —"Barnum and Bailey’s Favourite” and “March Salutation.” Two of the best songs from London’s latest musical success, “The Desert Song” and “One Alone,” are recorded by a clever young tenor, John Coleman, and two Indian love lyrics—- “ Temple Bells” and “Less Than the Dust” —get adequate and poetic expression on a grand organ played by Mr. Arnold Greir. Zonophone also introduces us to Eisteddfod minstrelsy with a disc giving two traditional Welsh songs by the soprano, Madame Megan Telini, whose Italian operatic training has not spoiled her zest for her native airs.